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given that i've never seen you dance -- let alone met you (if you ever visit nyc, then . . . ) -- it's a bit silly to discuss your style of dancing i.e., you had mentioned your dancing experiences, and then i rather foolishly alluded to your remarks but by pathological dancing i suppose i mean...

so when i say that music is the site of the political -- i mean only that it is more productive of the kinds of meanings & affects that people take seriously than the field of conventional politics is -- not that it has some grand transformative effect on the world that we share with all others...

not sure if the Sixties>punk>post-punk>hip hop>rave have changed the world in "big" ways what these music movements have done, rather, is create a kind of ANTICIPATORY DISSATISFACTION with the "adult" world = careering, building a household, having kids = putting one's nose to the grindstone in...

actually i take it as axiomatic that music is most powerful when experienced with and alongside others i don't have in the mind "teenager in bedroom w/ radio & angst" again, i'm using rave as paradigm -- you might contest that paradigm so perhaps by "private" you mean outside of language? or...

as for the "event of music," i.e., music that is experience as radically new and which therefore re-orients bodies perhaps this can be explained as a VIRULENT STRAIN of previous viral infections that is, were the music not closely related to previous sound viruses then it would not be geared...

yes -- but why can't the pleasure-intensifying mimetic behavior be considered amplification? amplification = massive replication of a gene or DNA sequence amplification = the particulars by which a statement is expanded NOW THE KEY POINT to grasp is that even though music and dancing are...

sound afflicts the body -- sound and rhythm have psychosomatic effects and that is how the virus enters or, if you wish, seizes hold of the body or, still again, wracks the body reworks and reorients body and mind and yet we still think and feel in more or less the same ways as before it's...

the viral theory of music and music scenes -- aka the theory of musical disease -- also provides great insight into the nature of popism that is, the peril of popism is not disease but complacency and ease rather than the ravishing and disorienting effects of music, we now have the prick to...

the great advantage of the virus metaphor is that it can *perhaps* explain both the political and the psychological the political is now understood in terms of the epidemic's disorienting effects politics is about orientation -- directionality bodies that succumb to the viral disease are...

so with the virus explanation we can have an account whereby everybody on the dancefloor is afflicted by the same sounds and rhythms and what others do before their eyes reinforces what the feel in their bodies i.e., the others before their eyes are similarly afflicted i.e., there's a kind of...

yes, but don't viruses replicate? or does the replication of a virus follow a kind of logic? the virus as creature of the body whereas mimesis is external to the body and uninformed by logic -- merely image (inexactly) mirrored by image that is, what is at stake in the virus vs mimesis...

i never tire of pushing kudu for dissensus people who prefer all things brooklyn, they can check out kudu at asterisk on april 30th not sure who else is on the bill -- will update when i have more details -- but last time i went to asterisk all bands were neo-post-punk in orientation expect...

btw it was recently explained to me that jon e cash is cockney slang for money used for condom-dispensing machines at tawdry bars i assume brits know this, but i thought i'd do my part to enlighten america

thought i'd give advance notice to the dissensus community in nyc starting on saturday may 14th there'll be late night parties at xxxxx the 14th, then monthly admission will be more or less free up until 2 or 3 am -- i.e., people w/ bottles of booze will be most welcome -- then probably $10...

a person given to making ridiculously extravagant claims about the object of his fantasy or perhaps it means something else, and i just like the sound of the word

there's been too many twists and turns to even say what the argument is about now that is, roughly 100 posts ago i tried to sort out the various positions -- but that'd be too daunting a task now! i consider myself a non-popist -- and a sort of rockist -- something along the lines of a...

errrr, no -- you miss my point -- but it's my fault that is, having lectured tim f on the sins of jargon, i then turned around and used jargon i have in mind badiou's notion of the event and badiou's notion of the subject of truth and badiou's ideas on this matter are not unlike althusser's...

so i guess i'd like to see some intersection of the political & psychoanalytic explanations of how music and music scenes work i.e., the political as sense of being seized, identifying w/ some and excluding others on the basis of this sense of beign seized, and the strong convcitions we have of...

or maybe i need a refresher course in althusser & lacan -- or rather, need to read more so Tim F means something as follows: the Real = the music ideology = the imaginary relationships of subjects both to the music and, as mediated by the music, to one another so ideology is roughly the same...

by contrast, pop-ism is an ideology because it applies to everyone everyone has to resist its claims -- i.e., pop-ism doesn't claim or seize you in the way that music does, but rather makes claims about how to understand the world -- i.e., pop-ism as a claim about how to understand and relate...